Matt Morrison's Comic Reviews

It remains to be seen if the upcoming Man Of Steel mini-series will give Super-fans reason to be hopeful about the over-hyped Coming of Bendis. As it stands now, this book works best as a tribute to what was rather than an inspiration for what superheroes should be. Not exactly a strong start for a creator meant to be revitalizing an entire line.

Despite this oddity and a little redundancy in the story, The Adventures of Supergirl will satisfy Kara's many fans. This comic perfectly captures the spirit of the show and there's nothing here that would be considered inappropriate for most audiences. Parents may need to help their own super-kids with reading some of the words.

All New Wolverine is a worthy continuation of the legacy started by Roy Thomas, Len Wein and Chris Claremont. I didn't know much about the woman who was X-23 going into this book and I still don't, really. Yet the final pages of this issue contain a hook that should offer Laura Kinney ample chance to discover who she is and prove that she is more than just a clone in future issues.

The art equals Taylor's script in every respect. Nik Virella's character designs are deceptively simple, well-suited to both action sequences and the humorous talking-heads scenes. Yet Virella sneaks surprising amounts of detail into the backgrounds. Veteran inker Scott Hanna delivers his usual stellar job and the colors by Michael Garland are well-chosen throughout.

Another Castle #1 is not just a good send-up of a tired trope nor is it a brilliant bit of parody. It is a good comic, plain and simple. And you should be reading it and every issue to follow until the inevitable ever-loving ever after.

In short, Ant-Man #1 is well-worth reading. The script is accessible, the hero is relatable and the artwork is cheerful. This is a title that is both fun and funny at a time when far too many comic books take themselves too seriously and that is a welcome thing.

The only real weakness Last Days Of Ant Man possesses is that it is slightly inaccessible to those who haven't been reading the Ant-Man monthly series. Thankfully, new readers will get a chance to see what they've been missing out on in a few months when the series starts over with a new #1 and " if the final page is at all accurate " a new Scott Lang who is somewhat less firmly on the straight-and-narrow path.

In his notes at the end of the book, Straczynski says the reason he wrote this series was that he really wanted to write a noir comedy. While he captures the feel of the noir detective novel fairly well, the comedic elements of the story fall flat. The kindest thing that can be said about Apocalypse Al is that it isn't a bad supernatural detective story – it's just a wholly unoriginal one that isn't that funny.

Aquaman is in good hands and this new series is an excellent continuation of the character's legacy. He may never know the love and respect of mainstream audiences that his counterparts in the Justice League enjoy, but that is not the fault of this creative team. This series shows why Aquaman has endured as a concept for over 70 years and why the character has earned his place among the elite of DC Comics' heroes.

Those who would mock Aquamanwould do well to read this series. No longer focused on the “friend of the fishes” from the old Superfriends cartoon, this book is fast-becoming a political thriller on-par with the better episodes of The West Wing, albeit one in which President Bartlet occasionally slugs it out with a terrorist leader whose father he killed. That is not a perfect metaphor but Aquaman is a perfect comic.

Despite some minor flaws, Aquaman #15 is still a solid issue. The story, while simplistic, has many memorable moments. The artwork, while a little stiff at times, looks largely fantastic. This remains one ofDC Comics' best books.

If you have yet to give this book a try, Aquaman #23 is a perfect entry point to the world of Atlantis. The writing is as complex and action-packed as any political thriller. The artwork flat-out looks amazing. This is one of the best books on the stands and that's no fish story!

Despite being the conclusion of the Crown of Atlantis arc Aquaman #24 would be an excellent first issue for new readers ready to dive into the world of Arthur Curry. The story is gripping, though light on physical action and the art team delivers quality, uniform work.

Dan Abnett has built upon the original mythology of Atlantis and its related characters in the DC Universe beautifully and strengthened the bonds between these characters which were sundered in the wake of The New 52. Of particular note is the interplay between Garth (a.k.a. Tempest) and Mera. This series is a must-read comic for any fan of the medium.

If you haven't given Aquaman a chance, this is the perfect issue to start with. Despite some references to the on-going saga, most everything until the final pages is explained for the benefit of new readers with only a minimal amount of exposition required. The artwork and action sequences are fantastic. This book is a definite must-read for anyone who likes good comics.

It would spoil too much to explain why Jones proved a perfect choice for this issue. Suffice it to say that Jones' talents are well-exploited by the issue's end. More, anyone who enjoys weird horror and a bit of Lovecraftian influence in their stories would do well to check out this issueif only for Jones' artwork. Suffice it to say that I will continue to watch this series closely and recommendAquaman #34to those who have yet to give this series a shot.

Those who are already reading this series will find this issue to be typical of the high quality they've come to expect. All others would do well to start where the current storyline began and catch up as quickly as possible.

That said, Arrow Season 2.5‘s whole is far more than the sum of its parts. The excellent writing of the main story more than makes up for the artistic short-comings and the DCTV Universe Suicide Squad need their own spin-off comic immediately. As is, this book is a must-read for all Arrow-Heads.

If you're a fan of Arrow, you should definitely be reading this series. It manages to be suspenseful and exciting, despite existing between seasons. And even the slower issues have a lot to offer the discerning Arrow-head.

As in season 3, Laurel is a fifth wheel – an unnatural presence in Oliver's world whose inclusion in the story seems forced. The issue might have been better were Laurel to affirm her friendship with Oliver here and confirm that – in spite of everything that came between them – she believes he has changed and has become a good man. Alas, we instead get Felicity delivering another repetitive speech about how Oliver is far different than the killer he once was and how he should not doubt that.

Arrow Season 2.5 wasn't the greatest comic ever made. But it did what it set out to do. It gave us some good stories and it added some definition to the mythology of Arrow. If you're a fan of the show and haven't been reading this book, now is the perfect time to see what you've missed as we wait for Season 4 to begin.

Arrow: The Dark Archer proves to be a perfect companion piece to Season 4 of Arrow. The artwork is top-notch and the writing is true to the spirit of the show. You really feel as if you're looking at a lost Arrow storyboard!

While it will not be everyone's cup of tea, the new Barbarella series is a good read. The story does a fine job of paying tribute to its source material while satirically striking at modern society and the artwork is sexual without being crude. Those who are curious about what came before would do well to check out Kelly Sue DeConnick's recent English translation of the original Barbarella.

The only real flaw with this issue is that it doesn't quite stand on its own. It can be read apart from Batgirl #28, as Simone provides more than enough exposition to describe the story so far, but readers will get so much more from this issue if they've read part one first.

If you've haven't read the post-Rebirth Batgirl, this is a fine time to start. The story doesn't require any previous experience with the series to date. The artwork appears amazing throughout. This is a great comic, plain and simple and a must-read for all fans of Batgirl and/or Poison Ivy.

If you haven't been reading Batgirl, now is the time to start. If you haven't read it in a while, it's time – like Barbara Gordon herself – to come home. Things may be different but unlike Burnside, the changes on this title are definitely for the better and the future for Batgirl is promising indeed.

Despite some spotty science this month, Batgirlremains one of the best books to come out of the DC Universe Rebirth. Hope Larson has brought Barbara Gordon back to her former glory and Chris Wildgoose has given the book a truly unique look. If you like good books with smart, strong heroines, you should be reading Batgirl.

As far as holiday one-shots go, Batgirl #18 is fairly harmless. The action is satisfying enough and well captured by the art. There are several honest laughs in the dialogue and the book looks amazing. The only problem is that, in her effort to create a modern-day Scrooge, Hope Larson has made a villain who would be too over-the-top for Green Arrow " a comic whose primary villains, it should be noted, are a cabal of Satanic slave-trading bankers! Get past that point, however, and this is one fine book.

The artwork for the issue is great, however, with Wildgoose, Marzan Jr. and Lopes doing their usual stellar job on the pencils, inks and colors. The only sore point is Larson's script, which would be quite enjoyable if it weren't for the political non sequiturs grinding the story to a halt.

While I'm willing to allow for anything being possible in comic book science, a make-up company accidentally creating life with a face-wash formula is more than I can believe. Throw in some sloppy artwork from Scott Godlewski (who seems to have some trouble with drawing eyes and depicting details beyond close-ups) and some odd color choices from John Rauch and this is one Bat-Book that can be easily skipped.

Batgirl and The Birds of Prey is precisely the kind of comic that Rebirth was meant to create. It's easily accessible to new readers while still offering a nod to what came before. The characters are likable, the action thrilling and the artwork fantastic. In short, it's a fun read.

The best part about this book is I have no idea what to expect next month. The issue's ending leaves plenty of room open for several directions and my mind is racing considering the possibilities. To me, that is the sign of a great story, regardless of the medium – it provides pleasure as you read it and as you consider what comes next. In that regard, Batgirl And The Birds Of Prey is a great story.

This isn't enough to sink the story but it does make one long for a more clearly defined origin arc ala what Roy Harper received recently in Green Arrow. As is, Batgirl and The Birds Of Prey #9is an enjoyable work taken on its own merits. Just don't try and make it mesh with Dinah's other appearances in the DC Universe and you'll be fine.

Thankfully, the art isn't bad enough to distract from the story but this is one issue of Batgirl and The Birds of Prey that isn't up to its usual high standard. This is unfortunate because there's the start of a decent story here underneath the layers of exposition. Hopefully things will be back to normal next month.

Despite these minor issues with the artwork,Batgirl And The Birds Of Prey #14 is a wonderful one-shot introduction to one of DC Comics' most underrated books. If you enjoy stories with strong women who aren't generic "Strong Female Protagonists", comics that deliver the perfect mix of action and humor or books that are just plain fun, this should be on your pull-list.

The good news is my prayers for a new art team for this comic were answered. The bad news is that Roge Antonio was replaced with Marcio Takara, whose work here is sadly closer to his recent sloppy and over-inked run on Detective Comics than his work on All-New Wolverine.

Despite being the third part of Full Circle, it stands on its own as a story surprisingly well and offers a pitch-perfect take on the Oliver Queen/Dinah Lance relationship. The artwork is as lackluster as ever, sadly, with Roge Antonio clearly recycling several faces and Marcelo Maiolo's colors being as washed out as ever.

Batgirl And The Birds Of Prey: Rebirth #1is the best of both worlds. Fans of the original series will be glad to find something close enough to what they remember to satisfy the nostalgia itch while still leaving enough mysteries to be surprised. New readers will find a solid story with amazing artwork starring some of DC Comics best heroines.

Although the first issue of this mini-series is now available in the comic shops, a digital version is also available on-line. Printed in a motion-comic style, with the artwork changing slightly with every click, the digital edition of Batman '66 Meets The Green Hornet is worth a separate purchase. The final effect is very much like watching an episode of either of these classic superhero shows.

Despite this, everything still comes down to that question " can you abide idiot Booster for the sake of a joke? Personally, I cannot, but that doesn't change the fact that this issue is technically accomplished purely in the terms of its craft beyond the premise.

The artwork for this issue is good, if nothing else. I loved Cully Hammer's work on The Shadeand his artwork here is of comparable quality and composition. Laura Martin delivers a stellar job on the colors and Deron Bennett is a master of the printed word. I just wish this fantastic art team had been given a story that was more easily accessible to the new readers it was meant to attract to illustrate.

Beautifully illustrated by different artists with a script by three different writers, Batman: Lost #1 perfectly replicates the sensation of a fever dream. I'm not sure if that was the exact intention but it's a glorious trip regardless.

Dan Abnett's script is strong enough and The Drowned is easily the most unique and unsettling of The Dark Knights to date. Unfortunately, the formula for most of the Dark Knights solo-stories (Dark Knight shows up, Justice League counterpart shows up, they fight, Dr. Fate shows up to save the counterpart) is starting to get stale.

The Dark Knights Metal crossover event continues to pick up steam, as The Murder Machine rolls along. Though little happens in this issue to shed light (no pun intended) on the plans of the Dark Multiverse League of Batmen, the story contained within this issue is an enjoyable one and the artwork looks amazing throughout. This book is a must-read for anyone keeping up with The Dark Knights Metal saga or anyone who enjoys a good Elseworld story.

Batman: The Red Death #1 proves a thrilling Elseworlds adventure. Fans who enjoy the monthly The Flash comic will want to pick this one up to see their favorite creators spinning a darker sort of story with the same characters. And it goes without saying that this is essential reading for everyone following the Dark Knights: Metal saga.

I already stated that this comic should be required reading for any fan of the Batman franchise. That sentiment goes double for anyone who loves Harley Quinn. This is one hell of a good read and you'd be a damn fool to pass this book over.

The slow-boiling style has served this series well so far, however, and it is clear that Murphy is building to something big. The artwork is just as subtle and surprising as the story, making this a must read for all Bat-Fans and anyone who enjoys a good neo-noir story.

With an original concept that simultaneously builds upon the long history of its characters, a thrilling script and fantastic artwork, with amazing colors by Matt Hollingsworth and epic lettering by Todd Klein, this is the greatest Elseworlds story since The Dark Knight Returns.

Sadly, this amazing artwork does little to hide the overly complicated and rushed story. This comic – and indeed this series – are a tale full of Sound and Fury, signifying nothing. The only reason I'm planning to pick up next month's issue is out of a half-hearted hope that the mysterious white-clad blonde ninja chasing after Dinah (the one mystery not yet explained) will turn out to be her long lost sister Sara.

Isabella's writing is as strong as ever, though the artwork by Clayton Henry seems oddly flat with characters that are a little too smooth and streamlined. Still, there's enough right with this book to make it a must-read for anyone curious about the character in the wake of the approaching CW series and fans of the classic comics.

If I were to summarize Blue Beetle Rebirth in a single word, it would be disappointing. I'm honestly not sure who this series is aimed at. New readers will find the material largely inaccessible. Fans of the characters won't appreciate the liberties taken. And the best parts of the issue are those taken directly from DC Universe Rebirth #1. All in all this does not bode well for this series' future.

On the whole, there is little to recommend C.O.W.L. #1. The story fails to utilize its concept or its time period, the characters are shallow and the artwork is an overall mess. Those who are interested in a retro superhero story detailing a society adjusting to an organized superhero group would do well to look up the Eisner, Harvey and Shuster winning series The New Frontier.

Coates' story is unfolding at a leisurely pace, with little in the way of action or plot development in this issue. Despite this, it's a fantastic character study of Steve Rogers and has a lot of little touches that build Steve up wonderfully.

Those who don't enjoy classic horror or vampire stories will find little to enjoy in Captain Kronos' adventures. Genre enthusiasts, however, will love it for the treasure it is. The series will also find appeal among fans of Red Sonja, who may see Carla " here allowed a more active role than in the original movie " as a spiritual sister to the She-Devil-With-A-Sword.

It is unfortunate that this book will probably be passed over by those who fear its tie-in to Batman #50 is a cheap marketing ploy. This book is the real deal and one that should be well worth reading for a long time to come.

If you have yet to give Clean Room a shot, this issue marks a wonderful opportunity for you to correct that mistake. While reading the whole series from the first issue would be preferable, one can enjoy this issue without having read any of what came before. This is easily the best horror comic in years!

If this is your first visit to the world of Hyboria, prepare yourself for a surprising treat. And if this isn't your first time to ride with Conan or Red Sonja, be ready to recall the days of high adventure as never before. This is a great comic that will please sword-and-sorcery genre enthusiasts and newcomers alike.

In the end, there is little to recommend this new series to all but the most devout of Conan fans. Van Lente's script might be tolerable despite its plot-holes were it backed by decent artwork. The one bright side is that Dark Horse has apparently elected to continue their policy of rotating the artist on this series so we may have a worthy artist in two months time.

In the end, Conan the Avenger is counterfeit Conan, unworthy of the legacy of sword-and-sorcery's greatest hero. The artwork is greatly improved from when this series started, but the story – while involving – has turned Conan into a passive figure. And that is the last thing Conan should ever be!

This issue proves a worthy conclusion to what has easily been the best saga in the monthly Conan comic in over five years. Cullen Bunn writes Conan with a wit and cunning few writers have equaled. The artwork by Sergio Davila, coupled with the colors of Michael Atiyeh, brings the visceral world of Hyboria to life wonderfully.

This issue presents an excellent opportunity for new readers to start the series. Despite being dubbed the first part of an adaptation of Howard's The Devil In Iron, the story is all Bunn's original work. If you enjoy a good ripping yarn, full of action and high-adventure, you'll love Conan The Slayer #7.

In the end, Conan The Slayer #10 is merely serviceable. Those who want to see Conan flight a giant monster while a buxom blonde screams and further imperils herself will not be disappointed. Those who have become accustomed to the deeper works Cullen Bunn and Sergio Davila created in the past will find themselves wishing for something different.

If Constantine The Hellblazer has a weakness, it is that it lacks broad appeal. It's a great horror book but those readers who aren't fans of the character or the genre will have little reason to give this one a try. That being said, this book will be a welcome treat for old-school Hellblazer fans as well as recent converts from the Constantine TV series.

As per usual, Ming Doyle and James Tynion IV spin a most enjoyable tale. It's always a hoot when John and Swamp Thing are forced together and this issue does a great job of acknowledging the characters' shared history without needing to recap Alan Moore's greatest hits. Despite the nods, this issue is easily accessible to new readers and a good jumping-on issue for those who haven't given this series a shot yet.

I've moved from mere ambivalence to outright antipathy regarding Convergence as a whole. Yet I can endorse Convergence: Nightwing/Oracle #1 without reservation. If you miss Simone's Birds of Prey or Chuck Dixon's Nightwing, this is definitely one to pick up!

Think the body-swapping story is played out? Think again. With strong characterization and amazing artwork, Crosswind #1 puts a cool new spin on a classic concept. Based on this first issue, Crosswind seems to be a sure-fire hit and easy Eisner contender. The characters are immediately interesting and the artwork is fantastic. This is one series you'll want to get in on at the ground floor.

Crosswind continues to be one entertaining book. The script offers up a fresh twist on the old body-swapping story. The artwork is simply amazing. This book should be on the short-list for every graphic novel award in existence.

Cat Stags and Gail Simone knock it out of the park in this final chapter for what has been declared the series "first season". It will be interesting to see what future volumes bring and how this series will be adapted into a live-action TV show.

There is little to recommend continued reading of Cyborgbased purely on this first issue. The issue does a good job of explaining Victor Stone's background and powers but there's no sense of the personality of the man behind the machinery. Likewise the artwork is technically proficient but largely lifeless. Ironically, it is the mechanical nature of the art and story that makes Cyborg Rebirth #1 a dull, if well-crafted, reading experience.

For some reason, the continual shifting in art styles does not seem so severe or distracting here as it did in The Forge. This is a gorgeous book from start to finish and all the artists involved should be proud of their work here. I'm still not sure precisely what awaits us in Dark Knights: Metal but I'm more anxiously awaiting it now.

This disunity between art and story is not enough to ruin the power of this comic. Dark Days: The Forge #1proves a strong introduction to what promises to be an interesting mini-series. It may leave readers with more questions than answers but whatever else may be said about it, it isn't dull.

It is a rare thing for an event book to live up to its hype. Dark Knights: Metal #1 is such a rarity. The DC Comics Universe has been changed before but for once it doesn't seem like hyperbole to say that nothing will ever be the same again!

The cover for the issue says it all " if you can't take joy in an armor-clad Batman, Superman and Wonder Woman riding a Joker-faced dragon, this is not the book for you. For many of us, Dark Nights: Metal was the prog-rock epic turned comic we never knew we'd wanted and this final chapter proves the perfect rocking finale!

I can't say that I enjoyed Days of Hate #1 but that is not because it is not a good comic. It is brilliantly written and well-illustrated. Unfortunately, I find myself unable to separate myself from my own reality in entering its world. This is not the usual far-flung escapist dystopian literature with mutants and zombies and leather-clad amazons in classic cars with spikes on the bumpers.

Those who are expecting high comedy will be disappointed but those who might enjoy a slice of nostalgia that perfectly replicates the cheesy but enjoyable feeling of a good 1970's low-budget kung-fu action movie will want to check this out.

The general look is often inconsistent and, in some cases, awkward. There is, for instance, one panel where it looks like a wide-mouthed Captain America is eating an invisible foot-long sandwich. Still, the story is good enough that I can ignore the flaws in the artwork.

Death Vigil #1 is a promising start to what may prove to be the best new supernatural series of 2014. It is a must read for all fans of the urban fantasy genre as well as those who enjoyedThe Sandman or BPRD. Even those comic readers who are not fans of this sort of story would do well to check this one out for the interesting characters and (pardon the pun) gallows humor.

This first issue is somewhat of a slow start but the cliff-hanger conclusion promises action aplenty as the miniseries continues. Fans of the genre will find Deep Gravityto be an enjoyable piece of work. Even comic readers who aren't much for heavy sci-fi may enjoy it, provided they can get past the stock characters.

At least Barbierie portrays Dejah as a competent warrior in the few moments we see her in action. Nevertheless, I cannot recommend Dejah Thoris. It has excellent artwork but the story does a greater disservice to the Warrior Princess of Mars than even the most gratuitous of Frank Cho pin-ups.

In fact, the whole of Descender #1 is damn good. Sci-fi enthusiasts will find it entertaining, as will fans of Lemire and Nguyen's previous work. But by all rights this comic should be picked up by anyone and everyone who enjoys good comics.

Thrilling and majestic in appearance, Detective Comics #947 is a fantastic book from start to finish. The book ends with a number of open cliffhangers and I can't wait to see what the next story-line holds in store.

Thankfully, these issues don't drag this comic down completely. If one can work past the erratic inks, there is a great story at the heart of Detective Comics #957.This issue is a must-read for all those who have missed Stephanie Brown, be it as The Spoiler, Robin or Batgirl.

If you haven't been reading Detective Comics, you've been missing out on one of the best Batman books in recent memory. Despite having a large cast and involved backstory, this issue is easily accessible to new readers and I'd suggesting starting here before you lose any more ground.

Paired with the artwork of Alvaro Martinez and Raul Fernandez, this is a must-read for all fans of The Gotham Knights. And yes, that is officially the new team name for the group operating out of The Belfry.

The only real flaw to this issue is its inability to be quickly absorbed by casual readers. The mythology James Tynion IV has woven at this point is too vast for that. Thankfully, the artwork is fantastic, meaning established fans of this series will have another great issue to look forward to.

The art, unfortunately, does not match the script. Between Jason Wright's odd choice of bright colors and Jesus Merino using thick inks to outline his pencils but hardly any inks at all for shading, the artwork for this issue looks oddly off-putting. Somehow, it looks far brighter than any Batman comic should and yet the individual line-work seems oddly over-emphasized.

I stand by my assertion that this is the best Batman book on the stands right now. If you've ever loved Batman and the whole variety of characters that were developed around him, you need to be reading this book.

While not as friendly to new readers as his previous opening issues for new story lines on Detective Comics, this first chapter of Batman: Eternal continues to develop James Tynion IV's understated redevelopment of the Batman Family for the Rebirth era.

After an amazing opening arc which played out like the original 2009 Arkham Asylum game with The Terror The Flaps In The Night in place of Batman, this issue of Darkwing Duck proves to be an easily accessible one-shot perfect for new readers. Writer Aaron Sparrow has perfectly captured the voices of the characters from the original cartoon series and created a villain worthy of Darkwing Duck's already fantastic rogues' gallery. Likewise, artist James Silvani perfectly emulates the house-style of the original show's artwork, making every panel look like a lost animation cel. This is one family comic that truly is fun for readers of all ages!

No previous experience with Darkwing Duck– the show or the comic – is needed to enjoy this issue. However, should you want to experience the saga as it began, the collection of the first four issues of the current volume just went on sale recently. Either way, this is one of the best all-ages books on the stands today and it's a must-read for anyone who enjoys a good, fun and funny read.

I shall be sorry to see it go. Yet part of me hopes that the talk of an upcoming Disney Darkwing Duck Vol. 2 is not just talk. So please – if my word as a critic has ever meant anything to you – buy this book. Check out the TP collection of the first four issues. And tell the management of Joe Books LTD that you want more.

It can be hoped that Dissonance will scan better in a single-reading once the trade-paperback edition arrives. Unfortunately, there is little here, apart from the artwork, to make me want to read the second issue to see if it gets any better.

Even if you aren't as big a fan of Starman as I am or have yet to read any other Black Hammer comics, there much to admire in Doctor Star & The Kingdom Of Lost Tomorrows. This is everything awesome about classic comic books viewed through the rose-tented goggles of modern day superheroics. I highly recommend it.

On the whole, this first chapter of The Four Doctorsproves a promising start. What flaws exist are minor things and do not distract from the enjoyment of the individual components thus far. Whovians are certain to enjoy this epic tale.

Thus far, Doctor Who: Ghost Stories seems unlikely to satisfy those fans who hoped to see more of The Ghost and Lucy Fletcher following The Return Of Doctor Mysterio. It isn't a bad book but the tone of the story thus far doesn't seem to match the episode it is based on. The artwork is competently executed but hardly exciting. At 99 cents a chapter, it's hardly a bank-breaking investment but there's little to recommend this series to any but the most devout of Whovians.

Doctor Who: The Eleventh Doctor #1 will be out next Wednesday, July 23rd from Titan Comics. Grab a copy at your local comic book store (Don't know where that is? Here you go.) or digitally via Comixology.com.

All in all, this is a wonderful start for The Eleventh Doctor's third year. The story is appropriately action-packed, silly and serious in equal measure with the artwork matching the tale beat for beat. Fans of the Matt Smith era of Doctor Who will find this book enjoyable.

The most miraculous thing about The Lost Dimension to date has been that every individual chapter has been entirely accessible to new readers. Even those new to the world of Doctor Who could pick up this comic and get a painless introduction to one of the richest universes in all of fiction. So if you have a non-Whovian in your life who needs a little push or are a Whovian who just doesn't like comics, consider this book your golden ticket into a whole new world.

If you haven't given Doctor Who a chance, you couldn't do better than making this book your entryway into a bigger universe. The story is fantastic and the artwork stunning. I would advise having an experienced Whovian friend on hand, however, so you have someone to talk to afterward who can explain all the little bits you might have missed.

The Lost Dimension #2 proves a serviceable story. The script more than makes up for the occasionally dodgy artwork, though one wishes Cris Bolson had been able to work on this issue alone. Still, this chapter holds the momentum of the series to date and readers will be left clamoring for the next issue at the end.

The Lost Dimension hasn't been your typical crossover event. And thank goodness for that! The quality level has been much higher and the novel idea of making the extra issues optional for regular readers is a nice touch. Any Whovian worth their salt should consider this story mandatory reading material, comic-reader or not.

It remains to be seen if this fifth chapter of The Lost Dimension will be essential to the final storyline. As a momentary amusement, it has value, despite the erratic artwork. Whovians who can suffer a bit of visual uncertainty in the name of a good story will find this special to be just that.

While long-time Whovians will get the most out of this story and the inherent humor of throwing the modern-day Mickey Smith against an older (from his perspective) Doctor, this issue is amazingly accessible to new readers. If you're a comic fan who likes superhero stories who has wondered about the fuss over this Doctor character, this would be a fine first issue to start with.

Scott conveys Captain Jack's character just as well as artist Cris Blson encapsulates John Barrowman's likeness. The action sequences in this issue flow smoothly from panel to panel and the designs for the various alien races depicted are truly unique and memorable. This comic perfectly captures the essence of the Russell T. Davies era of Doctor Who and is a must-read for all fans of Captain Jack and Torchwood.

In the end, this issue is merely average. A good story and a great artist are benched by their association with a less-skilled artist. Hopefully when Year Two begins Cris Bolson will be back as the series' solo artist.

Madame de Pompadour once said that one can tolerate a world of demons for the sake of an angel. Personally, I would not recommend tolerating the horrendously awful main story of this comic for the sake of the brilliant back-up.

As strongly as this mini-series started, the ending is a bit anti-climactic. Cartmel's story would make for a great episode of the television series but his sense of pacing as a comic book writer is a bit off.

Doctor Who: The Tenth Doctor #1 will be out next Wednesday, July 23rd from Titan Comics. Grab a copy at your local comic book store (Don't know where that is? Here you go.) or digitally via Comixology.com.

The miraculous thing about The Tenth Doctor comic is how it remains easily accessible to new readers while being steeped in its own mythology and the mythology of the original Doctor Who shows. Despite being largely concerned with set-up and tying-up loose ends from the previous stories, the script by Nick Abadzis explains everything new readers need to know smoothly and efficiently.

Fans who have been enjoying Titan Comics' Tenth Doctor series with love this first chapter of "The Good Companion". Everyone else, however, may be a bit lost. Such is the double-edged sword of this series' plotting under writer Nick Abadzis, who has built upon the mythology of the original television series to create his own rich epic.

If you're a Whovian who has yet to get into the wonderful world of comics or a comic reader who wonders what all the fuss about Doctor Who is, this issue would be a wonderful introduction to both worlds. It won't be nice and it won't be safe. But it will be the thrill of a lifetime!

The only real weakness to this issue is the same problem that most TV tie-in comics possess. While fans of the current Doctor Who series will love this book, it does little to open itself up to comic readers who might discover the show through this book. The book isn't entirely inaccessible to new readers, but Whovians will get far more out of it than non-fans.

Despite that flaw, Doctor Who: The Twelfth Doctor #11 proves to be an enjoyable read. The quality of the script more than makes up for the minor flaws within the artwork. If you haven't read a Doctor Who comic before or even watched the show, this would be a good place to start.

Writers George Mann (Doctor Who: The Eighth Doctor) and Cavan Scott (Doctor Who: The Ninth Doctor) have delivered the perfect treat into our stockings. Those Whovians who just can't wait for this year's Doctor WhoChristmas episode will find this holiday special to be just that. Watching Clara and The Doctor contend with all manner of festive madness is highly amusing And fans of the classic Doctor Whoseries will be gratified by the reveal of the culprit as well as the touching ending.

This first chapter of Beneath The Waves will prove a welcome appetizer for those Doctor Who fans anxiously awaiting the main course of Series Ten this weekend. It was a good bit of planning on Titan Comics' part to release this book this week. George Mann continues to impress as the author of The Twelfth Doctor series, perfectly capturing the voice of Peter Capaldi's Doctor and spinning tales worthy of the TV show. The artwork by Mariano Laclaustra and Carlos Cabrera proves equally astounding. If you're a fan of the show, you'll be a fan of this comic. And if you aren't a fan of the show, this comic may make you into one!

The Boy With The Displaced Smile proves an unexpected interlude from the story started in the last issue but it is not an unwelcome one. The story by James Peaty sports a novel concept (i.e. place The Doctor in a 1950's sci-fi thriller movie setting) and runs with it. The artwork by Life Sucks artist Warren Pleece suits the weird horror tone of the story and establishes the appropriate atmosphere. Fans of classic Americana horror would do well to check this out, as would fans of The Doctor!

Comparisons to the show aside, this is a fantastic comic. Every element " the story, the art, the colors " work together in perfect harmony. If you're a Whovian who is going through withdrawls thinking of the long wait until this year's Christmas special, you would do well to start reading this series.

The Doctor is back and better than ever!If you've been going through Doctor Who withdrawals since the end of Series Nine, this book is the cure. It is a must-read for all Whovians, with a great story and amazing artwork.

If you've never watched Doctor Who before, this issue is a wonderful introduction to the universe. Conversely, if you're a Doctor Who fan who has never read a comic book, this is a good issue to start with, being about the love of the medium and a good story. And this is a good story. - See more at: http://kabooooom.com/2016/05/doctor-who-the-twelfth-doctor-year-two-5-advanced-review/#sthash.WiRIQZZN.dpuf

If you've never read a Doctor Who comic before, this would be a great one to start with. There's no pesky backstory or continuity to concern new readers beyond a blurb on the title page explaining the concept. The story is easily accessible, with a likable heroine in the middle. And the artwork looks just plain fantastic!

While it's unlikely to win over ideological purists, Doomsday Clock #1 works quite well taken on its own terms. It's far too early to make comparisons between this series and the original Watchmenbut this series seems to be moving in an interesting direction. It may yet crash and burn, but it will be a spectacular wreck if it does!

While the controversy over this series and its reasons for existing may rage on, it cannot be denied that Doomsday Clock #4 is a solid piece of high-quality work. Taken from the context of its origins, it is what it sets out to be " a riveting origin story for a fascinating character, that can miraculously be enjoyed free of the context of any other work.

Despite this unevenness, Eye of Newt #1 is still a promising start to what should be an excellent series. Whatever flaws exist in the artwork are more than made up for by the moments where the visuals work perfectly. And the story – while satisfying all the tropes of a typical boy's story – has enough new spins and interesting ideas to make it seem like an original tale.

All in all, I can't recommend Factory save to the most enthusiastic of post-apocalyptic fiction fans. The artwork is incredibly unappealing. The story's slow pace offers nothing to encourage readers to continue on to its second installment. Worst of all, it is just plain dull!

In the end, Fantastic Four may have a new #1 issue and a new creative team but that's all that's new. Fans of the First Family of Marvel may enjoy it, but new readers will have little reason to continue on with the saga past this first issue.

It remains to be seen if book this will prove more popular in this day in age. I can easily see the joke going over the heads of many readers. Still, those who appreciate the satirical edge of Judge Dredd will find Fighting American an enjoyable read.

Overall, this is a solid issue of The Flash but not a great one. The script is strong and it's good to see the Wally West subplot finally developing some momentum. Yet the artwork is oddly forced and looks unnatural at times, but it's nothing longtime fans of the character will find themselves unable to work through.

Despite a few wrinkles, The Flash #11is a solid, enjoyable comic. The artwork is largely excellent despite some small flaws. The story is a true ripping yarn. AndStarman fans will rejoice at the continuing adventures of The Shade, as he is written true to form.

If you're a fan of The Flash TV series who has yet to give the comics a try or a regular reader who just hasn't gotten around to this wonderful book, The Flash #13 proves a wonderful opportunity for you to correct your mistake and start enjoying one of DC Comics' strongest titles in the Rebirth era. This issue provides a wonderful entry point into the world of Barry Allen. It's also a heck of a holiday comic, with an uplifting ending and some amazing artwork in the bargain!

Ignoring the disunity between the tone of the story and the aesthetics of the artwork, all of the creators at work on this book are at the top of their respective games. Unfortunately, the final effect of their working together is like trying to play chess with a checkers set.

As a Dark Nights Metal tie-in, The Flash #33 is good. It falters somewhat in that it comes just as The Flash started a new story-line and has almost nothing to do with the last issue. Still, Joshua Williamson does a great job explaining the story so far for The Flash fans who might not have been reading Dark Nights Metal and Howard Porter's artwork looks fantastic.

Come to that, most of the dialogue in this issue seems a bit off, perhaps due to Michael Moreci being involved in the writing? At least the artwork by Pop Mhan looks good but that's cold comfort when this book is usually great.

The story in this issue is unfortunate on several levels, with one of the more interesting female characters introduced into this series in the Rebirth era randomly rushed into villainy for the sake of pure drama.

The Flash #36 isn't a bad book and it's a good jumping-on point for new readers. This issue is still far rougher than usual, however, and not representative of the usual level of quality from this creative team. It is good, not great, but well worth fighting through the rough-spots to enjoy.

Time has not slowed Kolins's stride and his work here is the best this series has seen in some time. Williamson's script is equally strong, though it does set up a plot beat at the end regarding an undercover operation at the GCPD that makes little sense logically.

Good as it is, as Part Three of the current Perfect Storm storyline, The Flash #42is not a good issue for those who are new to this series to start with. New readers would do well to track down The Flash #40 and start from there, with the understanding that the artwork between issues is somewhat erratic and the story a fast-paced one.

Di Giandomenico's style is an acquired taste, but the visual conceit of depicting the speedsters with squiggly lines to suggest their continual motion is a marvelous conceit. It just works much better in a story where not ALL the characters are moving at super-speed.

Joshua Williamson adds in a few good character moments and the artwork by Carmine Di Giandomenico is good enough, but ultimately there's nothing here Flash fans haven't seen done before and done better.

Scott Kolins, who drew much of Geoff Johns' run on The Flash that introduced Zoom, proves the perfect artistic partner to Williamson's script. The artwork suffers somewhat from the inks being a bit thin and the colors being a bit bright. Still, this is a solid issue that sets the stage for Flash War well enough.

The artwork by Howard Porter looks fantastic but is also filled with many clever touches, such as Porter referencing some of his older work in Wally West's "time seizure" flashbacks. Throw in some amazing colors from Hi-Fi and Steve Wands' stellar lettering and this is one fantastic book!

While very little ultimately happens in this issue, apart from setting up the scene from the very beginning of Flash War, Williamson's grasp of these characters is phenomenal and Howard Portrer's art puts an amazing amount of energy into every scene, even the ones that just involve the characters talking to one another.

The strange thing about this issue is that despite being the third chapter of Flash War, it's surprisingly accessible to new readers. Moreso than the earlier issues, in fact, which required knowing a fair about the recent history of The Flash. While I'd still suggesting starting with the first TP. Lightning Strikes Twice, this is not a bad place to start reading The Flash.

As the final chapter of Flash War, this isn't an ideal entry point into the series. For those who are already running alongside Barry Allen, however, this is a fantastic issue and worthy conclusion to the saga so far.

What's truly amazing is how, despite being crafted as a tribute for older fans who grew up with Wally West as "their Flash", this comic is just as accessible to new readers, despite being the final issue of Flash War.

If you haven't been reading The Flash, this issue marks a good point to start. Joshua Williamson is one of the best writers I know of when it comes to delivering exposition in a smooth and natural fashion and the current storyline has a lot to unpack.

I loved Geoff Johns' run on The Flash so it does my heart good to see Wally taking center-stage in this annual and the story bringing back a character from that time period. This issue also brings back one of Johns' original Rogues, who it appears will have a major role in Flash War. Couple that with the fantastic artwork of Howard Porter, Christian Duce and Hi-Fi and you have a perfect comic!

Longtime fans of The Flash will be pleased by this issue. Readers following the continuing mystery first revealed in DC Rebirth #1 will want to pick up this issue in order to see the latest clues.And those fans of the TV Series looking for a good entry point into the world of the comics couldn't ask for a better first issue than this one.

The artwork by Ariel Olivetti looks fantastic. This proves no surprise given his previous work on Future Quest as well as the recent Green Lantern/Space Ghost one-shot. The only real weakness to the artwork is some occasionally forced expressions but Olivetti's style proves a good fit for the strong, space-opera aesthetic of Parker's story. Those who enjoyed the originalFuture Quest series will find Future Quest Presents #1 to be more of the same.

Genius isn't as smart as it wants to be. The artwork isn't bad, but it proves incapable of conveying the story that the writers have to explain on page one so the audience will have some vague idea of what is going on. There is little to recommend this book to anybut the most devout fans of the true crime genre.

Fans of all of these creators will be well-pleased by Gideon Falls #1, as will fans of conspiracy fiction and horror. It is unclear just what kind of story we may be in for with this series, but it is clear that story will prove interesting and well-told, both textually and visually.

Whether you're a long-time Arrow-Head, a fan of the Arrow TV series looking for a good place to start with the comics that started it all or just someone who loves good action-packed comics, Green Arrow #35 is a must-read. Its only real flaw is that as good as it is, it tries to do a little too much with its subplots and some elements of the issue feel tacked-on as a result. The bits focusing on Oliver Queen, however, are top-notch.

All in all, fans of Arrow and the Arrow-heads of old will find much to enjoy in the new Green Arrow. Just don't take things too seriously and ask questions like 'Why doesn't John King doesn't just reveal Oliver Queen's secret identity to the world?"

On the whole, this new direction for Green Arrow is two steps backward. This might be a good first issue for a new horror series for Vertigo Comics. But ultimately there's nothing here that really speaks to this being a Green Arrow comic apart from the hero being named Oliver Queen.

Despite all this, I still have hope that there is a swerve coming. I hope that this issue truly the last we've seen of stereotypical hacker and whiny coward Henry Fyff and that – with Diggle returned – we will also see the return of Felicity Smoak. I hope that Shado turns face before this arc ends and that Emiko will shortly follow Fyff into Comics Limbo. Most of all,I hope that Dinah will save herself and become the cavalry Ollie needs in the final part of this story.

This new Green Arrow series embodies the strength of DC Comics new Rebirthline. This book is both easily accessible to new readers while illustrating everything that made these characters beloved icons in the first place. If you're an old-school Arrow-head who has been left wanting over the past decade of lackluster Green Arrow and Black Canary stories, rejoice! Your homecoming is here.

If you have yet to give the newGreen Arrow a chance, this issue marks a wonderful opportunity to see what you've been missing out on. If you're a long-suffering Arrow-head wishing for a return to the good-old-days when men were men with goatees, women were women in fishnets and a comic could be socially aware while still presenting a kick-ass action sequence or two, now is the time to come home. Either way, this book is a great read and one of the strongest titles of the Rebirth line.

Green Arrow #24 is something of a disappointment. Despite Benjamin Percy rushing this issue to its conclusion, there's no payoff or resolution to speak of. Juan Ferreyra's artwork remains excellent but can only do so much to dress up this lifeless ending.

Whether you're a new reader or an old one, a fan of The CW series or not, Green Arrow #26is one team-up everyone can agree on. The writing is fun and accessible. The artwork is skillful on all fronts. This is one to pick-up!

Ignoring politics, this book is still a top-notch thriller and Percy's take on the characters is pitch-perfect. I particularly enjoyed Lex Luthor's Sherlockian analysis of Green Arrow and Superman assessment of Oliver Queen. "They tell me you've changed," Superman says referring to The Flash and Woner Woman, "and I can see for myself. It's true. You're still a disagreeable, sarcastic, loose cannon" but I'm proud of you."

If you haven't been reading Green Arrow, you've been missing out on one hell of a ride. If you have been reading Green Arrow, this issue is more of same mix of fine art and high action you've come to expect. This is a damn good comic!

The issue is not completely without flaw, however. The Black Canary/Red Arrow sub-plot settles itself far too quickly. And the final pages' connection toDark Knights: Metalfeels terribly forced. Yet despite these minor imperfections, Green Arrow #31 is a damn good book and it's one you should be reading.

In the end, that is the best thing that can be said about Green Arrow #32 " it accomplished what it set out to do. It brought Oliver Queen into the Dark Knights: Metal story-line and, much like Green Arrow himself, it did it with a certain ham-fisted style.

Benjamin Percy has written the perfect jumping on issue for those readers lured in by last month's tie-in with Dark Nights: Metal and guest artist Jamal Campbell proves a match for the other excellent artists who regularly work on this title.

It seems that Benjmain Percy is trying to clear the series of those elements that were introduced in order to better emulate the TV series Arrow. Even if this isn't the case, this is one issue every Arrow-head will want to pick up!

Juan Ferreyra's artwork is as fantastic as ever, thankfully. I regret that due to the constraints of the Internet I can't fully show you this awesome two-page panel-spreads that are his bread and butter. Still, I've grown fond of Ferreyra's style and use of color and think I will follow him wherever he winds up when the new creative team takes over in two months. Until then, we have one more issue and The Trial Of Oliver Queen to look forward to.

Green Arrow #38 is the end of an era and I am sorry to see this creative team's run end. Still, as Ollie notes in the ending coda of the issue, "As much as some things have changed, others never will." I hope that one of the things that doesn't change is the level of quality and effort put into this series by its future writers and artists.

Green Arrow #39 does not negate Percy's work on Green Arrow. It would be giving the creative team far too much credit to suggest they were even capable of that. Green Arrow #39 does stand, however, as a stark reminder of the sorts of comics that made DC Rebirth necessary in the first place.

This entire issue is a throwback to the kinds of Green Arrow comics Rebirth was meant to put an end to. The only good aspects of this book are the covers by Mike Grell and Tyler Kirkham and the fact that this was just a fill-in issue.

Thanks to that, and Mairghread Scott's flawless portrayal of Oliver Queen's inner voice, the execution is far better than the base concept. The artwork is also amazing, with Matthew Clark, Sean Parsons and Jason Wright offering up a classic comic-book running battle that unfolds with a clearly defined sense of style and a perfect sense of pacing.

While this issue is sure to send those who whine about politics in their comics screaming to their Twitter accounts Green Arrow #42 offers a serious look at a real problem without pretending to offer any easy solutions or an enemy that can be beaten into submission. What's most amazing is it does it in a way that is balanced and nuanced, defying the usual cliches that sneak into stories like this.

Green Arrow #43 is a political book and it is not the least bit apologetic about that fact. There is a certain vocal minority in the comics-reading community who will hate this book on general principle. Thankfully, as satisfying as it might be to buy this book just to annoy them, it's a damn good action/adventure comic with powerful art and well worth reading for non-political reasons.

Black Canary fans will want to check this one out for the awesome action sequences and Dinah's development of a logical secondary superpower for her to have that makes her an even better foil for Count Vertigo.

Regardless, Green Arrow Annual #2 manages the neat trick of being an accessible continuation of the story of Justice League: No Justice and a pitch-perfect introduction to the character of Oliver Queen and the status quo of his life in the reality of DC Comics Rebirth. If you haven't been following Green Arrow before, this is the issue to start with.

Green Arrow: Rebirth is everything Green Arrow fans have been wishing for. Black Canary fans will be pleased to see that Dinah Drake has not been turned into a damsel in distress or a “plus one” for the sake of making Green Arrow look better. It isn't perfect but it is a good first step in the right direction after years of erratic treatment for both heroes. And as far as the DC Rebirth line in general goes, this is an encouraging first step.

Yet despite its lack of sea-fairing gorilla pirates (a conceit I fully expect to see either Gail Simone or Tom Taylor tackle at some point), Hawkman #1 is a ripping yarn born of the same pulp fiction aesthetic that inspired Indiana Jones.

While this results in a rather trippy read as we see Hall fighting his way through some kind of psychic landscape, it succeeds in its goal. That and the artwork by Bryan Hitch and Kevin Nowland make this issue worth reading, even if it isn't much of a tie-in.

The plot isn't ground-breaking but it's not like the original cartoons were all that complex either. The script by Rob David and Lloyd Goldfine does a good job of capturing the essence of the characters (despite it doing a poor job of introducing most of them) and there are a few novel touches that speak to their love of the characters. Chief among these is the unveiling of the issue's narrator, which won't be much of a surprise for most readers but will prove most gratifying on the final page.

The poor writers tend to portray John as a right selfish bastard. The great writers showed John to be a bloke with good intentions who honestly tried to make things better only to have things go wrong. By that definition, Simon Oliver is a poor writer, who has no real grasp of Constantine's character. John is a scoundrel but he'll ultimately try to do the right thing. The final panel of this issue tells you everything you need to know about Oliver's take on John Constantine and whether or not you should keep reading this series.

While Hellboy: Krampusnacht is unlikely to win the Hellboy franchise any new fans, the faithful will find this holiday special enjoyable. The story is true to form, if a tad predictable. That said, the artwork is wonderful and fans of Adam Hughes will be astonished at what he accomplishes here.

Despite that, there is much to like about Hercules. The story has a great opening hook and sufficient humor for those who like that in a Hercules story. And there's a heaping helping of high-adventure and mythic action for those who don't care much about a drunken Herc booty-calling Black Widow. Much like its titular hero, Hercules is not perfect but you can't help but like it despite the flaws.

I'd say this would be a good jumping-on issue for this series, but this is the last issue before it restarts as Gods of War. Still, this comic is good for what it is and a fine ending to a good story. Who would have thought you could use Hercules to tell a story about the pitfalls of social drinking as an alcoholic?!

Even if you're not a video game fan, Injustice 2 is an enjoyable comic from start to finish. With great characterization, fantastic artwork and a fair amount of humor, this is one book that should be on every comic lover's pull-list.

I can think of no higher complement for a writer than this. Taylor took a character I'd rather not existed and told a story that made them likeable. Such is the skill that he displays every week in this series and such is the reason why I sing this series' praises.

While Injustice 2 #11 provides important historical context of how Kara Zor-El came to Earth in the Injustice universe, it does little more than that. Tom Taylor does his best to dress up a familiar story with some good character moments but there's only so much he can do. Similarly, Mike S, Miller's artwork is competently crafted but there's nothing here that stands out and grabs the imagination.

If you haven't been reading the comics set in the Injustice universe, this is a fine place to start. Though born of a single bad day and one of the darkest events in recent comics history, Injustice 2 #13 shows that there is light and hope in this setting as well. There are other great things I could talk about, but I'd rather you discover them for yourself " this book is that good.

Injustice 2 continues to be more than a mere video game tie-in book. In terms of quality, both in art and story, this is as fine a comic as you will find anywhere. It is one of my favorite titles and one I recommend whole-heartedly, even to those who haven't played the games.

Taylor is matched by the excellent art team on this issue. Bruno Redondo is one of the most underrated artists working in the industry and Juan Albarran's inks complement his pencils perfectly. Finish their work up with Rex Lokus' colors and Wes Abbott's letters and you have one of the best looking books on the stands!

If you haven't readInjustice 2 before, now is the perfect time to give it a try. You don't have to have played the video games to understand the story and the book is surprisingly accessible given its rich mythology. Indeed, the only reason not to check this issue out would be if you preferred to start at the beginning with the original Injustice: Gods Among Us series. Either way, you're in for a treat!

Taylor breathes new life into The Amazons and fans of the Wonder Woman movie will like his take on the familiar characters. Mike S. Miller's artwork is less enjoyable, full of forced-poses and awkward expressions.

The only thing that prevents me from whole-heartedly recommending Injustice 2 #35 to everyone is the fact that I think it far better to start where it all began than try and jump into the story at this late date. It is possible, certainly, but not practical. Those already familiar with the world of Injustice, however, will find this issue to be as great as what they've enjoyed before.

If you haven't been reading Injustice 2 for fear of it being in accessible to non-gamers, rest assured that is not an issue. While this issue is not a good introductory point, the series presents a fascinating look at one of the best developed Elseworlds in DC Comics history. Those who have not given the original Injustice: Gods Among Us series a go would do well to try it.

Tom Taylor's scripts provide the perfect balance between action, humor, drama and horror. Daniel Sampere's art is just plain awesome, with Rex Lokus and West Abbott providing the perfect finishes to the complete package.

Injustice 2 #39 is heavier on the action than usual but Tom Taylor still finds time in his script for those wonderful little character moments that make this series so magical. Couple this with some energetic art from Bruno Redondo, Juan Albarran and Rex Lokus and you have one fantastic book!

Fans of the classic comedy-themed Justice League will want to check this issue out for the Blue and Gold sequences, which are easily the equal of everything Keith Giffen and J.M. DeMatteis did with the characters. BWAHAHAHA indeed.

Suffice it to say that this book and its creative team find new ways for me to be astonished every single week and I love this book for that as much as I love its novel (and sometimes incredibly deviated) takes on some of DC Comics most beloved characters.

Do you like stories full of action, romance, comedy and horror " sometimes all four on the same page? Do you enjoy colorful artwork with exciting visuals? Do you like tons of gorillas fighting each other, with the occasional crocodile man, whale woman and man-bat for variety? If so, then you will love this comic!

The story itself, unsurprisingly, is fantastic. I'll spare you the details beyond saying that Tom Taylor delivers his usual mixture of high drama and rising action with a few moments of comedy along the way. I will also say that if you dislike certain infamous aspects of the movie Man of Steel or are a fan of Young Justice,you will want to check out this issue for its ending sequence.

At this point, I doubt my praises of this series will win you over if they haven't already. Nor do I think The Powers That Be at DC Comics will listen to me when I say that we need Tom Taylor and Daniel Sampere working on Justice League ASAP. Still, I have to say it " this is a great comic. I fear you readers may get sick of my reviewing this series only to talk about how amazing it is but I don't think I'll ever get sick of talking about it.

Though the surprising twist at the end of this issue is hardly surprising for those readers who have been paying attention , it's still enjoyable to have one mystery confirmed and the action of the issue is as fine as the artwork.

The artwork proves equally excellent, with the usual gang of artistic collaborators showing their skill with every panel. Bruno Redondo's layouts offer the action of Taylor's story a smooth and natural pathway to progress. The inks of Juan Albarran and the colors of Rex Lokus further enhance the finished product, with Wes Abbott's lettering appearingespecially easy on the eyes. All in all this is one fantastic book and a must read for fans of Supergirl!

This issue is not the end of the series but it might be the end of the beginning of the tale of Injustice 2. I'm not certain how long it is scheduled to run but I can stay this much. Tom Taylor's scripts continue to surprise me. Danielle Sampere's pencils are perfectly completed by Juan Albarran's inks, Rex Lokus' colors and Wes Abbott's letters. This remains one of my favorite comics and is far more than a simple video-game tie-in book.

As a reader, I love Tom Taylor's cliff-hangers. As a critic, I'm annoyed because his stories defy easy summation and there's no way I can talk about Injustice 2 without spoiling the story for potential new readers beyond saying "You have to read this!"

The artwork is fantastic too. Daniel Sampere and Juan Albarran are one of my favorite penciler/inker pairings and every page of this issue is a prime example of why this is so. Throw in some great color art by Rex Lokus and Wes Abbott's perfect placement of the word balloons and you have one fantastic book!

The artwork is as amazing as always when Daniel Sampere, Juan Albaraan and Rex Lokus are involved. Sampere's pencils are clear yet divinely detailed. Albarran's inks offer the perfect enhancements and shading of the original art, with Lokus' colors providing a fine finish.

It's a fair bet that this issue will appeal to those Young Justice fans who miss seeing Connor and Cassie in the mainstream DCU, everyone who misses Blue Beetle in any capacity and fans of Booster Gold and Lobo. And if you're not a fan of these characters and the creative team, you will be by issue's end.

The artwork by Xermanico is largely excellent, though a bit over-inked in places. This obscures the details of the pencils in several scenes. Thankfully, the bright colors chosen by J. Nanjan offset this to a degree, but there are still some moments that look far too dark for the aesthetic of Green Lantern. Still, this is a minor flaw in an otherwise amazing comic.

This book is everything that is creative and wonderful and beautiful about superheroes and comics and you should be reading it. Even if you aren't a brazen romantic like me who is touched by the story of a crocodile man and whale woman finding love.

Injustice 2 Annual #1 isn't likely to win many converts to the glories of the Injustice universe. This is not due to any lack of quality but rather due to the purpose of this volume. It is not written to attract new readers " it is here to answer the questions of the established fan base who wonder why Wonder Woman is the way she is and whatever happened to Perry, Gary, Terry and the rest. It accomplishes that goal well-enough but could have been a little better when it came to showcasing just why this setting has won so much loyalty.

If you have yet to visit the world of Injustice, these two comics are a perfect entry point. The first issue neatly summarizes the story thus far for new readers (but you really should read the original series!) and the second one is filled with Harley Quinn's special brand of madcap hilarity. The artwork looks astonishing and perfectly captures the spirit of the writing. This is a fun comic, plain and simple.

Injustice: Ground Zero #24 is a worthy ending to a wonderful series. We haven't seen the end of the Injustice reality, thankfully. A sequel to the original game will be coming out in two months time and with it a new comic, written by Tom Taylor. The future of Injustice may be a dark place but the future for the fans of this series is bright indeed!

Really, the issue's only weak-point – apart from the aforementioned accidental spoiler – is this world's take on Wonder Woman. I cannot fault Brian Buccellato for this as the problem was present in the reality of the game world this comic is based on and he's taken steps to work around this point in the past. Yet the idea of Wonder Woman being this wishy-washy whiner who pines for Superman and wishes that he'd notice her in the wake of Lois' death rather than being honest with Clark about her feelings or taking action on them just doesn't ring true. Despite this, I still find this to be a good read and I can't wait to see what the rest of Year Five holds in store.

Injustice: Gods Among Us: Year Five Annual #1brings to mind a quote often attributed to Abraham Lincoln – “People who like this sort of thing will find this the sort of thing they like.” This comic is enjoyable for what it is and fans of Injustice will find this a fitting capstone for the series.Still, it's a shame that the finale couldn't be quite as revolutionary as what came before.

This amazing script is well-matched by some equally amazing artwork. Bruno Redondo gives every moment of this issue the gravity it deserves, with his characters looking particularly powerful in this outing. His pencils are perfectly enhanced by the inks of Juan Albarran and the colors by J. Nanjan are appropriately bold. Even the letters by Wes Abbott convey an extra little oomph!

If you haven't given Injustice a chance before now, you have been missing out on one of the best books of the last five years and should take steps to correct your mistakes immediately. And if you're looking for another good comic to read, check out Tom Taylor's independent series The Deep " Volume 1 & Volume 2. It's a kid friendly but not at all childish comic about a family of underwater explorers and Taylor is currently developing it into an animated series. It, as well as the whole of Injustice, are highly recommended.

If you haven't given Injustice: Gods Among Us a chance, you would do well to pick up that first issue and binge upon every issue between it and this one. There is darkness here, yes, and a number of truly disturbing scenes. Yet, there is also hope and humanity. And the darkness only serves to make the light seem all the brighter and better.

If you have not yet ventured forth into the world of Barsoom, you will find no better starting place than this issue. Despite being heavily based upon the mythology ofEdgar Rice Burroughs' world, it is easily accessible to new readers. More than that, it is a true ripping yarn with excellent artwork.

Overall, this issue is something of a disappointment after the first special, with the characterization being paper thin and the story fairly standard stuff for a team series. Taken as a work of commentary however, the book becomes a brilliant piece of satire, albeit it possibly unintentionally. I can't say I liked it much but neither did I dislike it.

If you haven't already been reading No Justice, hope like heck your local comic shop still has the first issue in-stock. You do not want to wait for the trade or the start of Scott Snyder's new Justice League book. This is one to pick-up and save for future rereading!

If you've yet to join Conan intreading the jeweled thrones of the Earth under sandalled feet, this comic would be a fine place for you to begin your adventures in the world of Hyboria. The story is great. The artwork equally so. And I cannot wait to see what Truman and Giorello have in store for us next. By Crom, this is Conan at his best!

Hellboy fans and mythology buffs will find much to admire in Koshchei The Deathless #1. It seems unlikely that new readers will be won over by this tale, but Mignola's story will prove perfectly accessible to them. Couple a rich story with some equally enjoyable artwork and you have one fine comic.

The only real flaw to Surviving Megalopolis so far is a minor lack of accessibility.While new readers can start with this book and have the story so far explained to them, those who have read the whole of Leaving Megalopolisfirst will get so much more out of this issue. It's not enough to negate my full recommendation of this book to all fans of dystopia horror and twisted superhero stories but I would strongly advise reading the original Leaving Megalopolis first.

Lords Of The Jungle may be notable as the first official team-up between Tarzan and Sheena. Unfortunately, that's the only notable thing about this book. Save perhaps how notably disappointing it is on every single creative front.

This comic is no mere TV tie-in. It is a wonderful continuation of the Vertigo legacy. God willing we'll have another 74 issues to complete what may become known to future audiences as the Unholy Trilogy. And if God isn't willing, perhaps The Devil will give us our due?

Lucifer #14 may not be the ideal entry point that it was promoted as but it is still a fine book. The story is gripping and it reestablishes the status quo which the rest of the series can build on expertly. The artwork looks just plain amazing. Truly, the only flaw with this book is that you have to have read Neil Gaiman's The Sandman, Mike Carey's Lucifer and Garth Ennis' Hellblazer to truly appreciate the story. Old-school Vertigo fans will love it, though.

And so the second volume of Lucifer ends " not with a bang or a whimper but with a satisfying, if somewhat rushed, conclusion that leaves the door propped open for a revival later. The rumors are that Vertigo is considering revamping the series, crafting something similar in tone to the Lucifer TV series. Personally, I hope these rumors are just rampant speculation as it would be a poor thing for the last vestige of Vertigo Comics' once-great shared universe to be shelved purely for the sake of a television tie-in.

MASK: Mobile Armored Strike Kommand #1 is proof that some things are best left in the past. There's a wonderful idea at the heart of this book and the artwork is good from a technical viewpoint. Unfortunately, the constant tonal shifts in both the writing and the artwork coupled with the inaccessibility of the material to new readers make this book one trip down memory lane best forgotten.

The Man of Steel #1 is a solid Superman story but nothing more than that. The bits focused on Superman being Superman are fantastic. The parts involving the new villain are beneath the creators involved. So far, this series is proof that Superman doesn't need to be redefined for a new generation of readers " he needs to have what he already is looked at in new and unique ways.

The on-going subplot regarding what happened to Lois and Jonathan continues to drag on in the typical Bendis fashion, with no resolution in sight, though the artwork by Jason Fabok is fantastic. If this is what we are to expect from Superman comics from now on, the future is looking bleak for The Man of Tomorrow.

The on-going subplot regarding what happened to Lois and Jonathan continues to drag on in the typical Bendis fashion, with no resolution in sight, though the artwork by Jason Fabok is fantastic. If this is what we are to expect from Superman comics from now on, the future is looking bleak for The Man of Tomorrow.

I'll probably read the upcoming Superman and Action Comics series out of morbid curiosity and my sense of duty as a critic to see how this all finally pays out. That being said, I wouldn't pay money for this book and neither should you.

The ending of this mini-series won't surprise anyone. Despite this, Dan Abnett does deliver a surprising path to the obvious ending and the artwork by Lan Medina and Norm Rapmund flows as smoothly as the waters that Mera commands.

Despite this rough opening, there's enough promise to Motherlands to warrant picking up the second issue. While the world concept may be derivative, there's enough twisted humor here to forgive the basic concept. Even with that, the book is worth checking out for Rachael Stott's excellent artwork, which looks fantastic with the finishes added by colorist Felipe Sobreiro and letterer Simon Bowland.

Millar's fans and the movie executives he seems to be writing for exclusively will probably enjoy MPH. The rest of us, who enjoy stories about likable characters who act in a heroic manner, would do better to stay away.

While this series may not appeal to all audiences, genre enthusiasts will find much to admire in this first issue of Past Aways. The artwork is great and it has a brilliant concept. Hopefully future issues will bring about more interaction between the core cast to better establish their personalities past a series of stock traits.

While well-crafted, this comic is unlikely to win over anyone who is not already a fan of the genre. Still, it stands as a fine example of a high-quality fantasy comic series. So sword-and-sorcery enthusiasts as well as comic-reading role-players would do well to give Pathfinder: Origins a try.

Longtime Poison Ivy fans will enjoy this book as will those comic readers looking for something good that lies off the beaten path. This first issue's story is somewhat light on action and heavy on exposition, but this is easily forgiven how well everything is assembled. The artwork proves equally excellent. I think this is one comic that will leave readers itching for more.

Despite all this, Pop #1 is an enjoyable read. It isn't quite the satirical sci-fi classic that it has been promoted as, but it isn't a bad book. There's enough good in this first issue to suggest that this series will improve with time and it may prove to be a more solid read in its final collected edition.

I suspect Port Of Earth might work better as a straight science-fiction novel than as an illustrated story. The base idea is sound but the execution " in terms of scripting and color art " leaves much to be desired. Hard science-fiction fans may enjoy it but most audiences will not find this port to be a hospitable place to dock.

In the end, Real Heroes fails to live up to the potential of its premise. It isn't a bad book, but Bryan Hitch has little to say beyond the base concept of "the cast of Avengers does Galaxy Quest". Alas, there is little indication that this book will be as inspiring as the former film or as funny as the later.

This is a worthy ending to an excellent saga and what Simone and Geovani have accomplished with this series is truly revolutionary.This shall be the definitive Red Sonja run for generations of comic readers. It is an epic worthy of The Nemedian Chronicles. And I lament that we shall not see its like again.

At the price of twenty-five cents, Red Sonja #0 is over-priced. The story is unoriginal and the dialogue is as flat as Sonja herself is well-rounded. The artwork is mired in fan-service, made worse by Gomez's own limitations as an artist. Do not be persuaded to give this book a chance based on the low price. It is not worth it.

The artwork by Walter Geovani is unsurprisingly excellent. This is a given considering Geovani's long experience in drawing Red Sonja, which he collaborated on with Simone. Geovani sports a unique style which is streamlined yet detail driven and he depicts an English manor with equal skill to how he draws a squalid Hyborian city. Paired with the vivid colors of Adriano Augusto and the excellent lettering by Simon Bowland, this is one comic that will appeal to new readers as well as pulp aficionados.

Fans of these artists may enjoy Redlands #1 for the visuals alone. Horror enthusiasts may be willing to forgive this prosaic opening for the promise of something different in future issues. Everyone else, I fear, will find little reason to pick up Redlands #2.

Retcon #1 fails to be "all-new" or "all-different", delivering more of the same tired covert superheroic schlock. The artwork is messy, the story mediocre and there's no sign of the big idea promised by the sales blurb. In short, Retcon #1 needs another reboot to be worth reading.

This series may not hold much crossover appeal for comics readers who aren't already fans of Robert E. Howard. And the quality level can vary wildly from issue to issue. But for those who are bold and appreciate good value for your comics-buying dollar, Robert E. Howard's Savage Sword is well worth the purchase.

Sadly, that is not enough to make Royal Blood worth reading. The story isn't bad but ultimately has very little plot or point. Still, the great artwork is worth looking at and the most enthusiastic of fantasy fans and history buffs may enjoy this book despite its standard story.

In the end, there's very little to recommend this issue or this series. The action of the script is good and Waid goes out of his way to show how awesome Agent Coulson is as a character. Unfortunately, the same effort wasn't applied to the rest of the cast and readers who aren't already familiar with the show won't have much to catch their interest. The artwork is merely decent, apart from the coloring, which is abysmal. All in all, this is typical of the kind of mediocre work one expects of a tie-in comic.

Sally Of The Wasteland may not be everyone's cup of tea. Still, it will appeal to anyone who ever stayed up to catch the Late Late Show broadcast of movies like Deathstalker II: Clash Of The Titans or A Nymphoid Barbarian In Dinosaur Hell. It will also hold the attention of anyone who has a fondness for stories set after the end of the world as well as those who don't take their action comics too seriously.

The first chapter of Scales and Scoundrels will engage any fan of high fantasy and all-ages adventure bold enough to give it a try. The story by Shirtless Bear-Fighter writer Sebastian Girner offers a perfect balance of action and humor. The artwork by Galaad is expressive and colorful, well-suited to this book's young target audience. I imagine this book will find a welcome home in the collection of any reader who enjoys Adventure Time or the books of Tamora Pierce.

It is too early to tell if future issues will return to the black comedy that made Simone's first Secret Six so memorable once the cast is better established. Still, this first issue is one heck of a hook for new readers and it is an enjoyable opening taken on its own terms. This is definitely a series to keep an eye on and a must read for anyone looking for something new and unique.

Actually, I do have a confession to make in this last paragraph, dear readers. I may have given a few secrets away with this review. A man of letters such as myself can be very cunning in hiding things between the lines. But while I may have my sport with you readers, you can be assured of one thing – you will all enjoy Secret Six as much as I do.

Despite all of this, the comic works if taken as light entertainment. Consider the serious implications of how Batman's super-powered colleagues could keep the peace more effectively than he could in his town or speculate on just where Wonder Woman is storing her newly-forged, W-shaped Wonder-rangs and you'll have a bad time with this book. Relax and enjoy the revelation that Wonder Woman is on short list of "Things Even The Joker Is Not Crazy Enough To Try And Fight" (along with the IRS) and you'll have a ball.

This series won't win any converts to the Browncoat cause. At least, not as easily as a marathon of the Firefly DVD set. But devout fans will be able to tough out the sloppy artwork for the sake of a ripping good yarn of a story.

Despite the issues with the art, I still found myself enjoying the story immensely. The script by Marguerite Bennett and Christina Trujillo works past its standard plot to establish Sheena's personality, if not her backstory, for new readers.

Sheena #0 was a disappointment. Sheena #1 is a greater disappointment, with bland art, blander colors and a plot that would have been cliched in The Golden Age. It seems those hoping for the grand return of the first superheroine will have to wait a while longer for a book worthy of The Queen Of The Jungle.

There's still some aspects of the development of the world that trouble me, such as the fact that The Elder and The Chieftaness don't have proper names. I'm also faintly amused that the writers researched a proper derogatory native word for "outsider" (i.e. cowodi) and reference a rather obscure regional monster called The Mapinguari for this issue, but still have Sheena cursing Damballa " an African deity, whose name they misspell. Nit-picking aside, this is a solid comic and I fully plan to check out the next issue.

I had hoped after Sheena #6 that the tide might be turning on this series, as I've enjoyed Marguerite Bennett's writing in the past. Unfortunately, her efforts " with Christina Trujillo " to revamp the Steven E. De Souza revamp fall flat and are made worse by Maria Sanapo's artwork.

Still, Sideways #1 is competently executed, if uninspired. The artwork by Kenneth Rocafort is largely excellent, though his linework gets a little too involved at times in the close-ups. The colors by Carlos M. Mangual are well-chosen, giving Derek's largely black costume some excellent definition by varying the shades of grey as the light hits it. This is not a bad comic but there's nothing here that excites me enough to pick up a second issue.

With gritty artwork and a smart script, Slots puts a new spin on the classic story of the fixer going for one more score. I'm not certain that Dan Panosian (Conan/Red Sonja) intentionally designed Stanley Dance to look a little like Bruce Willis, but the characterization put me in mind of him " a seedier David Addison ala Randy Robinson from The Wrestler. Whatever the inspiration, fans of Panosian's previous work and heist epics won't be gambling much if they play these Slots.

The early previews of Sons Of The Devil #1 offered a brief glimpse of what appeared to be a promising new horror series. It can now be said that promise has been fulfilled. This book will please enthusiasts of the horror genre as well as comic fans looking for something new and unique. - See more at: http://kabooooom.com/2015/03/comic-review-sons-devil-1/#sthash.75Fxt09I.dpuf

Overall, there's little reason for any but the most die-hard of Star Wars fans to pick up this book. Caper-story enthusiasts will be disappointed by the lack of an actual heist or any indication of a heist to come in later issues. And comic fans will be turned off by the mediocre artwork and dry plot.

Suicide Squad #26 may be a bad issue of Suicide Squad but it's a good continuation of the Gotham Resistance story-line and the Dark Knights Metal saga. Great characterization paired with amazing illustrations makes for one hell of a read.

Suicide Squad; War Crimes Special #1 is not arevolutionarystory. Yet it is more than a welcome slice of nostalgia. More than anything else it is proof positive that John Ostrander can still craft a good, topical political thriller nearly three decades after he first revived Task Force X as a new kind of team at the height of The Cold War.

Based on this first issue, Supergirl: Being Super might not be everyone's cup of tea. The focus on character over action may turn away some readers. Those who have been looking for a good comic to give the super girls in their lives who love the Supergirl TV series, however, will find this series to be a welcome treat.

In the final analysis, this new Supergirlseries is serviceable but not outstanding.The artwork is good, despite a few minor hiccups. The story isn't bad, though the structure is weird and the cast apart from Kara aren't memorable at all. Still, this is a good enough base that something better might be built upon its foundation.

Bottom line: If you enjoy neat twists on classic characters, are a fan of the Iron Man movies who has yet to give the comics a shot, or just a lover of twisted humor and good artwork – you should give Superior Iron Man a try.

Superman #41 may not have been the revolutionary comic some readers had hoped for but it's a solid foundation for what could be something special. In any case, this is Superman the way it should be done! And if you've ever wanted to believe that a man can fly " or at least leap tall buildings in a single bound " it's worth a read.

If you're any kind of Swamp Thing fan or enjoyed any of Wein's work over the years (and if you're any kind of comic reader, you SHOULD have, even if you didn't know it), you should check this book out for that reason alone.

Miraculously – for a tie-in book – no previous experience with Swords of Sorrow, Red Sonja or Jungle Girl is needed to understand or enjoy this issue. New readers can easily dig into this book without worrying of the backstory involved. And those who are already fortunate enough to be enjoying Swords of Sorrowshall enjoy this mini-series as well.

Regular Teen Titans fans may lament the lack of Starfire, Raven, Beast Boy and the rest of the team in this issue. As well they should. As a continuation of its own story-line,Teen Titans #12isn't very good. As a continuation ofDark Knights Metal, however, it is fantastic. Good as it is, it would have been better had this Gotham Resistance mini-series been released as its own book or had found some way to better make use of The Teen Titans in their own title.

The promotional materials for Tooth and Claw #1 described it as a combination of Conan, Game of Thrones and Kamandi – an eclectic mix, to be sure! But also an inaccurate one. If it must be compared to anything, best it be compared to another Image Comics series – Saga. It's nothing like Saga, of course, but like that beloved series by Brian K. Vaughan and Fiona Staples, Tooth and Claw offers us something wholly new and unexpected. And if you are a fan of fantasy in any form, you would do well to give it a try.

The Beautiful Death may prove beyond the grasp of many comic book readers. There is little in the way of action and plot in this first chapter and the characters are hardly memorable. Those who rise to its challenge, however, will be rewarded with an unusual and rewarding reading experience.

The only real flaw to The Brave and The Bold is that so much of this first chapter is devoted to setting things up, that it seems to breeze by too quickly. I suspect this series may read better in its eventual trade-paperback collection. As a monthly book, however, it is far from bad and well worth checking out, especially if you're a Wonder Woman fan or like Celtic mythology.

While unlikely to hold much appeal for those who aren't already part of the creators' established fanbase and genre enthusiasts, there is much to admire about The Fade Out. Those who give this series a shot will find it an enjoyable piece of pulp fiction.

If you're a fan of The Flashand Arrow on The CW, you would do well to check out this comic series. With excellent artwork and scripts by the show creators, it truly feels like a lost episode of the TV series.

The Flash: Season Zero is an enjoyable book that will hold appeal even to those who don't watch the TV series. This issue is a particularly good jumping on point for new readers. And it is also a welcome treat for those Flash fans who can't wait for Season Two to begin this fall.

Superhero deconstructions have been done to death but Nick Wilson sets itself apart by establishing Nick as an honestly good man we want to root for rather than the cliched total screw-up desperate to reclaim his former glory. That, plus some excellent artwork from Starman/JSA artist Stephen Sadowski make this one to check out.

This deconstruction of superhero tropes continues to amuse, but I found a bit more enjoyment in the essay in the back of the book where Eddie Gorodetsky discusses clichs in sitcoms and how repetitive reality shows evolved from them.

As for the story, this comic continues to impress. The only bad thing about The Further Adventures of Nick Wilson is that it is a limited series and I'll have no more of it to look forward to after next month. Still, who knows " Maybe there will be further, further adventures to tell in the future? We can but hope.

I still suspect The Hard Place will prove a smoother ride once collected in trade-paperback format. Not much happens considering this is the first part of a five-chapter series and it may be maddening to read this story in a monthly format. Then again, with a strong concept and artwork to match it, The Hard Place will doubtlessly please those who enjoy The Fast and The Furious movies or comics like Initial D.

It is a bit hard to judge each individual book based on the previews contained within this volume. Despite the different art-styles in play, the whole host of stories gel together beautifully. In this respect, they are a perfect encapsulation of the spirit of the original Sandmanseries, which also united many different stories and art styles into one glorious whole.Further analysis will have to wait until the new series reveal themselves but, based on what we see here, the newSandman Universe is a dream come true.

The series may have limited appeal to those who don't like high-octane action series or stories focused on assassin protagonists. Personally, I think those who enjoy series like John Ostrander's Suicide Squad will find a lot to like about The Silencer. I know I can't stay quiet about how good I think it is.

If you missed out on the open arc of The Tithe, you might look into picking up the recent collection of the first four issues. But if you can't do that, rest assured that you can jump into this book with no previous knowledge of the story so far being necessary. This issue is a good starting point for new readers and a great read.

here are some people who will say that The Unbeatable Squirrel Girl is stupid. These people should be pelted with stale acorns. Well, perhaps that's a bit much. But there's a whole big Marvel Universe out there and there is room enough for books like The Unbeatable Squirrel Girl that poke fun at how gloriously silly superhero comics can be while telling a great story with fun artwork.

If you haven't been reading The Unbeatable Squirrel Girl, you should rectify that mistake immediately. This is one book that, like its eponymous heroine, can't be beat. Seriously, it's right there in the title!

I've seen many dismiss Unbeatable Squirrel Girl due to it's silly story-lines and upbeat artwork. Their loss. This book is a welcome antidote to the grimness that has taken over the Marvel Universe and proof thatgreat comics don't have to take themselves seriously.

Fans of the twisted humor Cornell displayed in his previous writings will not be disappointed with this outing. Parker's artwork is equally inventive, with one particularly vivid sequence depicting the band mates' differing reactions to the world around them after taking mushrooms. If future issues can maintain this level of quality, This Damned Band promises to be an amazing spectacle.

Thunderbolts #1 isn't a bad comic but it's unlikely to win over new fans. The artwork is competent but doesn't suit the serious story. The plot and character development may improve in future issues, but it's unlikely I'll return to confirm that.

Titans #1is a good enough comic but something of a disappointment given how outstanding the lead-in issues were. Still, there is enough good here to encourage continued reading. With any luck this weak start will build to something bigger and better.

Titans #5is more than a thrilling blockbuster of a comic. It's a perfect encapsulation of one of DC Comics most under-rated and – in recent years – under-served heroes. The classic Wally West is back and thank goodness for it. So if you're a reader who only knows about Wally West from The Flash TV series or The New 52 comics, pick up this book and prepare for the run of your life.

If you haven't given the new Titans series a shot, now's the perfect time to begin reading it. If you're a fan of the classic Titans comics, now is the perfect time for a homecoming. This isn't just one of the best books DC Comics is publishing today – this is one of the best comics being published today.

Titans #8 isn't a bad comic and it's a good starting point for new readers who are curious about the series. Unfortunately, this issue isn't Brett Booth's best outing and Dan Abnett's character scenes are starting to get a little repetitive for the long-time readers. A little more variety in the conversation and a little more consistency in the artwork would do this series some good.

If you haven't been reading Titans, you've been missing out on one of Rebirth's hidden treasures. With a riveting script and amazing artwork, Titans #12 proves both a perfect entry point for new readers as well as a much-needed examination of one of DC Comics most neglected heroines. Here's hoping a Tempest solo story is next.

Titans #19 is a perfect jumping on issue for new readers. Dan Abnett walks new readers through most of the series' subplots without being overly-expository. The new art team of Pelletier and Hennessy prove a market improvement over the previous one. Jump on this book now, folks!

A larger problem is the artwork, which resembles completed coloring book pages thanks to the bold colors, thick inks and forced poses. It doesn't look bad but there's little sense of subtlety to it and the whole thing is just strange.

Ultimately, I consider Titans #23 to be a disappointing book given the talent involved. Dan Abnett is capable of writing great character pieces but it seems that his heart isn't in it anymore with the new line-up and the story has him seemingly going through the motions.

Titans: Rebirth #1 is not merely a comic book. It is a affirmation of everything the Teen Titans stand for as a concept. Now, as always, they are Titans Together. And if this issue is any indicator of what the future has to hold, they – and a new generation of readers – will be together for a long time to come.

Simply summed-up, Translucid #1 is a solid first issue. Its inspirations are clear but its purpose is no less enjoyable with that knowledge. The artwork is wonderful and the story will leave you desperate for Part Two at its conclusion.

Unsurprisingly, Manapul's artwork is equally elegant. The whole of Trinity #1 makes a case for more American comics spurning the assembly-line method of creation in favor of a single writer/artist overseeing most aspects of a book's creation. The only real flaw is that despite the wonderful character moments there is little weight to the story. Still, there is more than enough here to justify optimism for the future of this series and a cliffhanger that promises more action to come.

Fans of Cornell and Broxton's previous work on Knight and Squire will find Vampirella of comparable quality, though there is little humor in the same vein as that book. (No pun intended!) Those like myself who are new to the world of Vampirella will find this book to be a gripping introduction.

Readers who enjoy a good mystery or tales of street-level justice will find Vigilante: Southland an enjoyable tale. My only criticism of the series as a whole is that Donny's newfound heroism must be born of a fridging. I cannot help but wonder how revolutionary a comic focused on Dorrie would have been. Still, I cannot fault this story for what it is. And Vigilante: Southland is damn good.

There is little about Vote Loki #1 that stands out, for good or ill. Ironically, much like its protagonist, it is not good or bad – it is just there. And, like Loki, the book has some small charms but it shows signs of being capable of being much more than it is.

The only respect in which this issue falters is in its cover, which spoils the final cliffhanger of the comic. Sadly, the synopsis of this issue made the same mistake, robbing the reader of any sense of surprise as to just how our heroes survive the arena. Despite this minor problem, this comic should be on the pull list of every fan of The Amazing Amazon and Conan The Cimmerian.

While it's still unclear just how Diana came to be in Hyboria " or if she is the girl in Conan's memories in the flashbacks of his youth " the mystery is intriguing and the artwork by Aaron Lopresti, Matt Ryan and Wendy Broome brings that mystery to life beautifully.

Apart from the wonderful art, there's little to recommend Wonder Woman: Rebirth #1. There's no real story to this issue – merely an affirmation that things are screwed up and that Diana will need to fix them. What we needed was a bold declaration of who Wonder Woman is and what she stands for. What we got was a promo-book, promising that we'll be getting to that in the months to come, with Diana's modern adventures in the odd-numbered issues and a new Wonder Woman: Year Oneunfolding in the even-numbered ones. So stay tuned, kids, and be sure to drink your Ovaltine!

Unfortunately, the good artwork is not enough to make up for the dull script and inaccessible story. Those X-Fans seeking to satisfy their nostalgic twinges should rewatch the original cartoons. And those readers looking for an X-Men comic they can easily get into without worrying about a complicated backstory should look elsewhere.

Even if you're not much of an X-Men fan, X-Men: Red #1 is well worth checking out. Rather than being steeped in such deep continuity that you'll require a Masters Degree in advanced Clarmentology just to know who is fighting who and why, this book proves easily accessible to new readers. It has good artwork and features an exciting script that is both fun and funny.This is everything an X-Men comic should be.

There's little room for the quiet character development that Taylor is famous for, but he does manage to sneak a few laughs into the story in spite of this timely concept. There's lots of epic action scenes, however, well illustrated by Mahmud Asrar and Ive Svorcina.

If you aren't the sort of person who normally enjoys X-Men, you should give X-Men: Red a try. Between the amazing artwork by Carmen Carnero and a story by Tom Taylor that redefines the X-Men for the 21st century, this is a must-read!

All in all, this comic is good but not great. Long-timeXena fans will thrill at the story, though new readers may be slightly confused. The artwork is largely serviceable but contains a few oddities uncharacteristic of a usually excellent art team.

The biggest problem with this book is the artwork. Miller's best days as an artist are behind him and the cartoonish turns of several panels ill-suit the intense story. Alex Sinclair's colors do little to help matters, brightly emphasizing what might have worked had it been cast in shadow like the original 300.